Augenblick mal! 1999

Samstag, 24. April 1999 | carrousel Theater an der Parkaue

Theater Junge Generation, Dresden
Drei Schwestern
von Anton Tschechow
übersetzt und bearbeitet von Thomas Brasch
Suhrkamp Verlag, Frankfurt am Main
ab 16 Jahren | 170 Minuten

Director: Gerald Gluth
Stage and Costume Design: Olaf Altmann
Dramaturgy: Caren Fischer
Music: Jörg Kandl
Actor(s): Lilo Gerber (Anfissa), Sascha Gluth (Prosorow), Miriam Kohler/Ramona Libnow (Natalja Iwanowna), Thomas Kressmann (Werschinin), Babette Kuschel (Mascha), Walter Nickel (Tschebutykin), Anke Salzmann (Olga), Harald Schanze (Ferapont), Angela Schlabinger (Irina), Thomas Schumann (Kulygin), Mike Zaka Sommerfeldt (Soljony), Tom Wlaschiha (Tusenbach)
Musician(s): Joachim Hesse (Trompete), Jörg Kandl (Saxophon), Matthias Thomser (Posaune), Jörg-Michael Schlegel (Tuba), Bernd Sikora (Schlagwerk)

Synopsis:

Chekhov's 'Three Sisters' as a play for young people – sound suspicious? As a matter of fact, this is the first time the TJG in Dresden has done a Chekhov production and they were well aware of the challenge to the ensemble as well as to the young audi

Vote:

The production strikes a wonderful balance between tragedy and comedy; instead of confronting us straight on with life's brutality, we see figures constantly searching for new forms of representation and expression, in the end, we realise, just to serve as camouflage for them to hide behind. The production is shrill, even obscene. The alternating takes at the microphone are sobering: the men for the most part are just obsessed with their own egos, while the women ramble on about unfulfilled hopes. This is clearly 'actor's theatre', not the more externalised 'director's theatre'. That is, until shortly before the end, when all the suppressed desire for sensuality breaks out into a director-typical binge, an orgiastic table strewn with crushed melons and squashed grapes, and disrupts the unity. Otherwise, the production is beautifully self-evident. Whether the three sisters exchange their impressions of films and love stories, whether they sing (all in all quite nicely) Celine Dion's Titanic Song or whether the clammed-up Soljony almost violently belts out his love to Irene in Leonard Cohen's 'I'm Your Man', the production always stay true to itself and its figures. The depth of the figures is omnipresent. Their comedy as well. A play from yesterday for today.

Hartmut Krug

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